Habiba: You had a bit of whatever. But ever since then, only after 9/11, it became very specifically within western discourse, within whatever, used in that context and it never switched.

Maha: And it was all re-appropriated the whole war on terror, the American war on terror was re-appropriated here. What I find funny now is that even western media finds it controversial to use that word, to use that concept even, when they are the context in which it originated. It’s very arbitrary.

Adelita: So if I wrote American INAUDIBLE WORD 10:41, would that make sense?

Adelita Husni-Bey stages workshops and produces publications, radio broadcasts, archives and exhibitions focused on using collectivist and non-competitive pedagogical models within the framework of urban studies. In her 10 years of practicing as both an artist and a pedagogue, Adelita has worked with activists, architects, journalists, jurists, schoolchildren, spoken word poets, students, and teachers on unpacking the complexity of collectivity and role-making. To make good what can never be made good: what we owe each other.
Recent solo exhibitions include: A Wave in the Well, Sursock Museum, Beirut, 2016, Movement Break, Kadist foundation, 2015, Playing Truant, Gasworks, 2012. She has participated in The Eighth Climate, 11th Gwangju Biennale, 2016, Ennesima, Triennale di Milano, 2015, Undiscovered Worlds, the High Line, 2015, Really Useful Knowledge, Reina Sofia museum, 2014, Utopia for Sale?, MAXXI museum, 2014 and has held workshops and lectures at ESAD Grenoble, 2016, The New School, 2015, Sandberg Institute, 2015, Museo del 900, 2013, Temple University, 2013, Birkbeck University, 2011 amongst other spaces. She is a 2012 Whitney Independent Study Program fellow and is currently working on chapter III of ‘White Paper’, a project based on the changing face of legislation in relationship to private ownership and the commons in cities.